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1	Modern art, criticism and the politics of national identity in Germany, 1890-1914 Doukas, Emmanuel January 1997 (has links) No description available. 700
2	Klee and Worringer : elective affinities in an aesthetic partnership Lees, Carol Anne January 1988 (has links) It is the purpose of this thesis to examine the development of the concepts of abstraction and formalism in the art theory of Paul Klee and their consequent effect on his artistic production. The major impetus suggested for this development are the writings of Wilhelm Worringer, although the aesthetics of the Munich avant garde must also be credited. I have traced the evolution of Klee's thought through an examination of his diaries, letters and other documents of the period. It is clear that a demonstrable change occurs in Klee's concept of art as a result of his exposure to Worringer and the Blaue Reiter. This evolution is visible in his creative production. Klee, Paul, 1879-1940 Worringer, Wilhelm, 1881-1965
3	"Pintura ansiosa" e o conceito de abstração na psicologia da arte de Wilhelm Worringer Costa, Denise Dias 30 March 2011 (has links) Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, 2011. / Submitted by Shayane Marques Zica (marquacizh@uol.com.br) on 2011-09-28T18:24:44Z No. of bitstreams: 1 2011_DeniseDiasCosta.pdf: 4967770 bytes, checksum: 82d571ef83cb5472f9bb85116546b80e (MD5) / Approved for entry into archive by Jaqueline Ferreira de Souza(jaquefs.braz@gmail.com) on 2011-10-03T12:46:40Z (GMT) No. of bitstreams: 1 2011_DeniseDiasCosta.pdf: 4967770 bytes, checksum: 82d571ef83cb5472f9bb85116546b80e (MD5) / Made available in DSpace on 2011-10-03T12:46:40Z (GMT). No. of bitstreams: 1 2011_DeniseDiasCosta.pdf: 4967770 bytes, checksum: 82d571ef83cb5472f9bb85116546b80e (MD5) / Esta dissertação analisa a teoria de Wilhelm Worringer sobre a psicologia da abstração em arte que, até hoje, é pouco conhecida no Brasil e tem sido raramente citada em livros e debates sobre a arte abstrata em geral. Possivelmente porque ainda não foi traduzida para o português. Este estudo tem o objetivo de focar alguns aspectos importantes na base da criação artística, como defendidos por Worringer. Apesar da crítica a algumas de suas dicotomias, Abstraction and Empathy é considerada aqui como uma ferramenta importante de reflexão sobre minha própria produção poética dos últimos quatro anos, resultante do diálogo entre a teoria da arte e a prática de pintura abstrata. _______________________________________________________________________________ ABSTRACT / This dissertation analyses the theory of Wilhelm Worringer about the psychology of abstraction in art which is little known in Brasil until today, and has been rarely cited is books and debates about abstract art in general. Possibly because his hasn´t been translated to Portuguese yet. This study has the goal of focusing onto some important aspects at the root of the artistic creation, as defended by WORRINGER. Despite critics to some of its dichotomy, Abstraction and Empathy is considered here as a important tool of reflection about my own poetic production of the last four years, which results from the dialogue between theory and practice of abstract painting. Worringer, Wilhelm, 1881-1965 Arte - psicologia Pintura - técnica Pintura abstrata
4	Klee and Worringer : elective affinities in an aesthetic partnership Lees, Carol Anne January 1988 (has links) No description available. Klee, Paul, 1879-1940 Worringer, Wilhelm, 1881-1965
5	Plenitudes of Painting: Wilhelm Worringer and the Relationshipbetween Abstraction and Representation in European Paintingat the Beginning of the Twentieth Century Silaghi, Cristina January 2012 (has links) Throughout the twentieth century, the relationship between representation and abstraction has been regarded predominantly in terms of opposition. One of the prominent early twentieth-century defenders of this approach is Wilhelm Worringer (1881-1965), who introduces representation and abstraction as antithetic modes of art-making in Abstraction and Empathy. A Contribution to the Psychology of Style (1908). However, while he distinguishes between abstraction and representation on theoretical grounds, Worringer also observes that, in the history of art, these modes of art-making coexist. The current thesis examines Worringer’s approach to the writing of art history and theory, inquiring into his perspective on the personal responses of viewers and artists to the world, and the manifestations of these responses in art. Abstraction and Empathy addresses issues of empathy, form, and will, in aesthetics and art-making; it discusses and extends the writings of Theodor Lipps, Immanuel Kant, Arthur Schopenhauer, and Alois Riegl. At the beginning of the twentieth century, Worringer’s book attracted much attention: like its sequel, Form in Gothic (1910), it was often associated with the rise to prominence of Expressionism in Germany. Later in the twentieth century, Worringer’s thought came under the scrutiny of Rudolf Arnheim, who criticized Worringer’s emphasis on abstract-representational opposition. Gilles Deleuze and Félix Guattari praised Worringer’s approach to antithesis, yet questioned the terms Worringer proposed as opposites. For Arnheim, Deleuze and Guattari, alternatives to the antithesis between abstraction and representation became visible. Indeed, in Worringer’s time, artists such as Adolf Hildebrand, Ferdinand Hodler, Paul Cézanne, Claude Monet and Wassily Kandinsky underscored the common grounds between representation and abstraction. Exploring Worringer’s Abstraction and Empathy and Form in Gothic, as well as the words and works of Hildebrand, Hodler, Cézanne, Monet and Kandinsky, this thesis aims to highlight abstract-representational interplay as observable in early twentieth-century writing and art-making. Worringer Abstraction and Empathy Form in Gothic abstraction empathy representation antithesis interplay painting
6	The Dispersal of Gold : Material and Figural Traits of the Gold Foil Figures from Västra Vång / Att skingra guld Löfving, Axel January 2020 (has links) Gold Foil Figures or guldgubbar (henceforth GFFs) are precious metal artefacts from the Scandinavian Late Iron Age. This master's essay offers a new approach to GFFs. As opposed to the established understanding of GFFs as representational images with real or mythic referents, belonging to an aristocratic milieu, this essay instead attends to GFFs in terms of their material and Figural traits. The material for this study consists if 42 GFFs from the find site of Västra Vång, Blekinge, Sweden. A comprehensive presentation of this artefact material is a secondary aim of this essay. With the aid of a neomaterialist theoretical apparatus that draws heavily on the work of Gilles Deleuze, Félix Guattari, and Wilhelm Worringer, the 42 GFFs undergo two separate analyses. In the first, the material traits expressed in the sequence of GFF production and deposition is studied in terms of a chaîne opératoire. In the second, I attend to the non-significatory expressive qualities of form and expression, or Figural traits, belonging to these 42 GFFs within the wider artistic milieu of Animal Style Ornamentation. I conclude that GFFs were as a rule artefacts made for purposes of immediate disposal, not display, as a mode of dispersing gold. Västra Vång’s GFFs offer several indications that handling between the cutting operation and deposition was minimal, such as the fresh, unworn edges. The thin, brittle foils are ill suited to display. Approaching the designs on these artefacts as various sets of Figural traits being expressed allows me to contextualise the GFFs within the wider artistic milieu of Animal Style Ornamentation. New territorial rhythms can be established only as certain elements are freed from a settled state, and made to act together with new elements, in new terrains. GFFs bring about new territorial rhythms of form and expression to gold matter, gold made to circulate as it becomes deterritorialised from a monetary function within the Roman economy. A flow of gold is extended as gold is brought to Scandinavia from continental economies. The influx of this flow of gold is not contained to an élite social stratum. Individuals in possession of minute amounts of gold returned to Scandinavia, having acquired gold as payment for involvement in military operations on the continent. This ownership of gold may have hindered their harmonious reintegration into a society based on other economic principles. The GFFs emerge as a vector of dispersing gold. The artistic expression of Figural traits is equally energised by movements of de- and reterritorialisation. Understanding that the Figural traits expressed on the GFFs from Västra Vång are part of a wider artistic milieu of Animal Style Ornamentation, alongside other systematised expressions making up parts of a collective assemblage of enunciation, makes their appearance on artefacts that were deposited immediately upon their manufacture easier to grasp. The particular procedures of miniaturisation allowed for an acceleration of the expression of variation in the conjunction of a flow of artistic expression onto a flow of gold matter. The dispersive handling of gold must be traced to both the material premises and the expressive artistic ones. Gold is not chosen because it is precious, or because of what it connotes, but because it is available, because the artisan smith is attendant to its traits as a metal matter. Gold Foil Figures Guldgubbar Västra Vång Blekinge Scandinavian Late Iron Age Vendel Period Animal Style Ornamentation Precious Metal Crafts (Gold) Metalworking sites Figural Art Chaîne Opératoire Neomaterialism Deleuze Guattari Worringer Archaeology Arkeologi
7	Walter Benjamin und die Kunst des Graphischen Matsui, Takaoki 16 June 2008 (has links) Als Bild- und Medientheoretiker hinterließ Walter Benjamin nicht nur die berühmte „materialistische“ Auratheorie, sondern auch scheinbar esoterische Theorien der bildenden Kunst. Der Zusammenhang und Inhalt der beiden Theorien können erhellt werden, wenn wir genauer sehen, wie er sich dort mit der Beschreibung der Kindheit beschäftigte. Der Ursprung seiner Auratheorie liegt in seiner „Tagebuch“-Literatur, wo er in die melancholisch gefärbten Visionen der „Jugend“ zu versinken pflegte. Der topologische Aufbau dieser Visionen – ihre eigenartig „photo-graphische“ Struktur – soll mithilfe der Zweiten Topik Freuds analysiert werden. Und aufgrund dieser Analyse werden wir eine Revision der üblichen (übersimplifizierten) Gegenüberstellung von seinem historischen Materislismus und dem „apolitischen Formalismus“ Clement Greenbergs vornehmen. Greenbergs Kunstkritik dient aber auch zur Entschlüsselung der „esoterischen“ Bildtheorien Benjamins. Die letzteren verwirren uns vor allem deshalb, weil dort das Sehen der Kinder zuerst (um 1915) irreführender Weise nach den üblichen Dichotomien der Romantik (Linie / Farbe; männlich / weiblich; erwachsen / kindlich…) beschrieben worden war; ihren eigentlichen Inhalt konnte Benjamin erst präzisieren, als er – anhand seiner Betrachtungen der graphischen „Horizontalität“ und nach seinen Spekulationen über das magische Wesen von „Zeichen“ und „Mal“ (1917) – eine Trichotomie der Bildgattungen (Malerei / Graphik / getuschtes Bild) aufgestellt hatte. Wir rekonstruieren diese Theorieentwicklungen nicht nur durch detaillierte Bild- und Textanalysen, sondern auch unter Heranziehung seines „materialistischen“ Spätwerks (der Passagenarbeit und der „Berliner Kindheit“), da erst im letzteren der einzigartige Zusammenhang zwischen seinen frühen Bildtheorien und seiner Geldtheorie als „Konstellation“ sichtbar werden sollte. / Walter Benjamin’s writings on visual arts include not only the famous „materialistic“ essays on aura but also seemingly esoteric notes on painting and the graphic arts. The content and correlation of all these writings become clear once we grasp how they perform the task of describing childhood experience. His theory of aura was prefigured in his philosophical „Diaries“ where his struggle with his depression was often followed (or interrupted) by dreamlike visions of "youth". The discursive structure of these visions – which will prove to be a strangely „photo-graphic“ one – is to be analyzed by using the second Freudian topology as a comparison. Through this analysis we will be able to reconsider the well-known (oversimplified) antagonism between his historical materialism and the „apolitical formalism“ of Clement Greenberg from a new viewpoint. Greenberg’s criticism helps us also to decipher the „esoteric“ texts of Benjamin. They puzzled scholars especially because they described children’s vision at first (about 1915) misleadingly in accordance with the conventional dichotomies of Romanticism (line / color; masculine / feminine; adult / child…); Benjamin could specify their original implication only after he had set up – based on his reflexions on the „horizontality“ of the graphic arts, and by speculating further on the magic nature of „Zeichen“ and „Mal“ (1917) – a trichotomy of genres (painting / the graphic arts / ink and watercolor illustrations). We will reconstruct this development of his theory not only through detailed analyses of related works of art but also in view of his „materialistic“ late writings (the Arcades Project and „Berlin Childhood“), for it is only there that we find out an essential relation – a singular „constellation“ – of his early art theory and his theory of money. Aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Paul Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raffael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer Antinomie des Geschmacks ästhetische Idee Drogen Farbkonstanz Geldschleierthese Horizontalität Humor Mal Melancholie Tiergarten Todestrieb Urphänomen aura Eugène Atget Walter Benjamin Rudolf Borchardt Cézanne Goya Grandville Kafka Kandinsky Klee Laurel & Hardy August Macke Manet Charles Meryon Picasso Raphael Odilon Redon Rembrandt August Sander Paul Scheerbart Wilhelm Worringer aesthetic idea antinomy of taste color constancy death drive drugs goethean phenomenology horizontality humour „Mal“ melancholy veil of money zoo 750 Malerei 47 Photographie CI 1397 ddc:750

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